Manilow learned to play the accordion, and then a cheap spinet piano.
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He stayed there for a month, spending each day playing on an old Spinet piano at the house.
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In the high-ceilinged taproom, which shares floor space with the tanks, a broken spinet piano is incorporated into the bar.
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Ordinary objects in our lives — a banister, a dress, a spinet piano, a little mailbox in the woods, rumpled bedsheets, burning paper — accumulate memories over the years.
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As Grant O'Brien (see links below) has observed, the oval spinet is, technically, not a spinet. "Spinet" designates a kind of harpsichord with strings at an angle to the keyboard. Since the oval spinet places its strings parallel to the keyboard, it is more properly called a virginal. The term "oval spinet" is used simply because it is the most convenient English rendering of Cristofori's own Italian term, spinetta ovale.
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The spinet organ, a product of the mid-20th century, served the same function (domestic context, low cost) that was served by spinet harpsichords and spinet pianos. The spinet organ physically resembled a small upright piano, and presented simplified controls and functions that were both less expensive to produce and less intimidating to learn than other organs.
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A sumptuously decorated pentagonal spinet from 1577 by Annibale dei Rossi; 49 keys The pentagonal spinet was not a spinet in the sense given above, but rather a virginal; its strings were parallel to the keyboard. Typically, the pentagonal spinet was more compact than other types of virginals, as the pentagon shape arose from lopping off the corners of the original rectangular virginal design. More generally, the word spinet was not always very sharply defined in former times, particularly in its French and Italian cognate forms épinette and spinetta. Thus, for example, when Bartolomeo Cristofori invented a new kind of virginals in 1688, he called it the "spinetta ovale", "oval spinet".
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Modern bentside spinet built by Clavecins Rouaud, Paris In earlier times when English spelling was less standardized, "spinet" was sometimes spelled "spinnet" or "spinnit". "Spinet" is standard today. Spinet derives from the Italian spinetta, which in 17th-century Italian was a word used generally for all quilled instruments, especially what in Elizabethan/Jacobean English were called virginals. The specific Italian word for a virginals is spinetta a tabola.
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John Harris (17??–1772) was a Bostonian maker of spinets and harpsichords. Bentside spinet by John Harris John Harris emigrated from England to Boston sometime before 1768. He completed his first spinet in 1769.
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Musical instrument scholar Stewart Pollens called the oval spinet "a tour de force of mechanical design, fully the product of Cristofori's inventive character."Pollens (1991, 79) Yet aside from the possible example by Goccini, the oval spinet did not catch on in Cristofori's day. As noted above, the impetus for the oval spinet may have been Prince Ferdinando's wish for a compact multi-choired harpsichord suited to the orchestra pit. It may be that the Prince was not satisfied with Cristofori's first efforts in this area, because later on in the 1690s, Cristofori created a different design, his spinettone ("large spinet"), which deployed multiple string choirs at an angle to the keyboard, following the basic principle of the spinet.
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When the term spinet is used to designate a harpsichord, typically what is meant is the bentside spinet, described in this section. For other uses, see below. The bentside spinet shares most of its characteristics with the full- size instrument, including action, soundboard, and case construction. What primarily distinguishes the spinet is the angle of its strings: whereas in a full-size harpsichord, the strings are at a 90-degree angle to the keyboard (that is, they are parallel to the player's gaze); and in a virginals they are parallel to the keyboard, in a spinet the strings are at an angle of about 30 degrees to the keyboard, going toward the right.
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In the oval spinet, the strings were placed parallel to the keyboard, the same arrangement as in a virginals. This can be seen in the following schematic false-color diagram of the 1690 oval spinet, showing the outline, keyboard, bridges, and string arrangement. The diagram and those that follow are colorizations of an original by Tony Chinnery. The layout of the 1690 oval spinet.
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Evidently, 17th-century Italian used the term spinetta more loosely than 21st-century English uses "spinet.".
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In certain spinet desks the inner desktop surface can be drawn out a few inches, adding working space. Front of spinet desk, closed Side of spinet desk, partly open The image of the front of the spinet desk shows it in a closed position while the image of the side shows it in a partly open position, just before the hinged mobile part of the top is placed on the fixed part of the top. By this capacity of hiding or revealing the main working area the spinet desk could be said to be a smaller, less obtrusive cousin of the rolltop desk and the cylinder desk. Like them, and unlike the secretary desk or the fall front desk, it can be closed up without disturbing too much the paperwork and various documents and implements left on the main desktop surface.
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Musical Instrument Museum in Leipzig, Germany The spinettone ("big spinet") was a kind of harpsichord invented in the late 17th century by Bartolomeo Cristofori, who was later the inventor of the piano. Other names for this instrument were spinettone da teatro ("of the theater"), spinetta traversa ("transverse spinet").
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For these reasons, the spinet was normally only a domestic instrument, purchased to save money and conserve domestic space.
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The oval spinet is a type of harpsichord invented in the late 17th century by Bartolomeo Cristofori, the Italian instrument maker who later achieved fame for inventing the piano. The oval spinet was unusual for its shape, the arrangement of its strings, and for its mechanism for changing registration.Except where indicated in the text, all material in this article is based on Rossi-Rognoni (2002), cited below. Facsimile of 1690 oval spinet by Tony Chinnery and Kerstin Schwarz The two oval spinets built by Cristofori survive today.
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Girl at a Spinet, 1871 painting by Gabriel von Max Harpsichord historian Frank Hubbard wrote in 1967, "the earliest [bentside] spinet known to me was made by Hieronymus de Zentis in 1631. It is quite possible that Zentis was the inventor of the type so widely copied in other countries." He further notes that the spinet in France was sometimes called the épinette à l'italienne, supporting an Italian origin. In England, builders included John Player, Thomas Barton, Charles Haward, Stephen Keene, Cawton Aston, and Thomas Hitchcock.
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The two spinets, though similar in design, are very different in their current state. The oval spinet of 1693, now in the Museum für Musikinstrumente of the University of Leipzig, has been restored. The instrument is physically attractive, but because the restoration process obliterated information about the earlier state of the instrument, this spinet has diminished historical value for understanding Cristofori's work. The other surviving oval spinet was discovered only in the year 2000, having sat unnoticed in storage for a great period of time in the vast collections of Stefano Bardini, an antique dealer around the turn of the 20th century.
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In the picture above, the jacks are concealed beneath the jack rail at the center of the instrument. The disadvantage of the paired design is that it generally limits the spinet to a single choir of strings, at eight-foot pitch, although a double-strung spinet by John Player is known . In a full-size harpsichord, the registers that guide the jacks can be shifted slightly to one side, permitting the player to control whether or not that particular set of strings is sounded. This is impossible in a spinet, due to the alternating orientation of the jacks.
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The spinet was later developed into the spinettone ("big spinet") by Bartolomeo Cristofori (1655–1731), the inventor of the piano. The spinettone incorporated multiple choirs of strings, with a disposition of 1 × 8′, 1 × 4′, and used the same ingenious mechanism for changing stops that Cristofori had earlier used for his oval spinet. The spinettone was a local success among the musicians of the Medici court , and Cristofori eventually built a total of four of them.Source for this paragraph except as noted: Spinets are occasionally made today, sometimes from kits, and serve the same purpose they always have, of saving money and space.
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Following World War II, most electronic home organs were built in a configuration usually called a spinet organ, which first appeared in 1949. These compact and relatively inexpensive instruments became the natural successors to reed organs. They were marketed as competitors of home pianos and often aimed at would-be home organists who were already pianists (hence the name "spinet", in the sense of a small upright piano). The instrument's design reflected this concept: the spinet organ physically resembled a piano, and it presented simplified controls and functions that were both less expensive to produce and less intimidating to learn.
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Baldwin and sold under the brand name Acrosonic. Date of manufacture unknown. A spinet piano manufactured by Gulbransen Detail of the interior structure of the Gulbransen spinet shown above. The drop action, lying below the level of the keyboard, can be seen, as well as the extreme angling of the strings needed to provide sufficient length of strings within the limited case height.
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An Italian spinetta or virginals after Alessandro Bertolotti, 1586, provided with a false outer case. Note the projecting keyboard, unlike the inset Flemish examples. Spinet virginals (not to be confused with the spinet) were made principally in Italy (Italian: spinetta), England and Flanders (). The keyboard is placed left of centre, and the strings are plucked at one end, although farther from the bridge than in the harpsichord.
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The Robletti edition contains one piece, Canzon seconda, violino over cornetto, not included in the Masotti print, but omits three of the pieces in that edition, the Canzon Prima, detta la Bonvisia, the Canzona 34, detta la Sandoninia and the Canzona 37, detta la Sardina. Grassi also included two pieces for spinet and one for spinet and violin which are not found in the other editions.
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Click on image for expanded view. The spinet piano, manufactured from the 1930s until recent times, was the culmination of a trend among manufacturers to make pianos smaller and cheaper. It served the purpose of making pianos available for a low price, for owners who had little space for a piano. Many spinet pianos still exist today, left over from their period of manufacture.
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This 39 inch high piano was an instant sensation. The spinet came at an opportune time, when many Americans could not afford a full upright or grand.
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Music was an important part of worship for the Moravians. The first keyboard instrument, a Knolten spinet, arrived for the Saal from England on January 25, 1744.
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The case of a bentside spinet is approximately triangular. The side on the right is usually bent concavely (hence the name of the instrument), curving away from the player toward the right rear corner. The longest side is adjacent to and parallel with the bass strings, going from the right rear corner to a location on the player's left. The front side of the spinet contains the keyboard.
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A spinet desk is an antique desk with an exterior shape similar to a writing table, But slightly higher and is fitted with a single drawer under the whole length of the flat top surface. The spinet desk is so named because when closed it resembles a spinet, a musical instrument of the harpsichord family. This single drawer, however, is a dummy. It is a hinged panel which is meant to be folded in, at the same time as half of the hinged top surface is folded back on to the top of the other half, revealing an inner desktop surface of normal height, with small drawers and pigeonholes in the back.
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The defining characteristic of the spinet was its drop action (sometimes called indirect blow action). In this device, the keys did not engage the action directly; rather they pulled upward on rods called "stickers," which in turn pulled upward on levers located below the level of the keyboard, which in turn engaged the action. The stickers were sufficiently long that the hammer heads (the highest part of the action) ended up at roughly the same vertical level as the keyboard. Thanks to the drop action, spinet pianos could be made very small; the top of a spinet rose only a few inches above the level of the keyboard itself (see image above).
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Self-portrait with a spinet, Uffizi Marietta Robusti (1560? - 1590) was a Venetian painter of the Renaissance period. She was the daughter of Tintoretto and is sometimes referred to as Tintoretta.
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Bachhaus, Eisenach, Germany. Click for a more detailed view, revealing the use of bookmatched veneering. A spinet is a smaller type of harpsichord or other keyboard instrument, such as a piano or organ.
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Caleb Warner (September 12, 1922 - August 24, 2017), was a marine and acoustical engineer and a classical trumpeter, who was best known for co- designing the Baldwin Spinet Electric harpsichord which was used on The Beatles' song Because.
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Francesca Campana (ca. 1615, d. 1665) was a spinet player, and composer. She was born in Rome, thought to be the daughter of Andrea Campana, wife of the composer Giovan Carlo Rossi and sister-in-law of Luigi Rossi.
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Because of the alternating pattern, the highest two notes are the frontmost and hindmost string pairs, thus the farthest apart. By placing the strings in this way, the oval spinet has a (very roughly) oval shape; hence its name.
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During the coronavirus pandemic, Vale began to record songs with his wife, Marian Wallace. He played the Yamaha spinet piano. Wallace sang and produced the songs. This resulted in a 12-track digital album, Lockdown Lullabies, was released in 2020.
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Detail of the Hauslaib Claviorgan, at the Museu de la Música de Barcelona (MDMB 821) The spinet-regals are usually quite compact, especially compared to their larger harpsichord cousins. The spinet is often of the smaller Italian style in a square case, as opposed to the perhaps more familiar Bentside shape popular in Britain. The organ is usually a small regal, with the bellows perpendicular to the keyboard, and pipes with tiny resonators. The instrument seems to have been very popular in Britain in the eighteenth century: both the larger harpsichord-organ combinations, and the organised-square pianos.
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Example of a spinet Jennifer Haraguchi states: > Montalvo was a pioneer in women’s education who pushed against societal > expectations that young women should prepare themselves only for marriage or > the convent. Montalvo offered a revolutionary ‘third path’ where women — > affluent or not — did not have to be nuns to increase their knowledge of > spiritual concepts and to have intense spiritual experiencesHaraguchi, > "Educating rich and poor girls" 17-18. Today, Montalvo's spinet and bedroom are preserved at La Quiete. Several of her personal items have been kept, including her bed, blankets, devotional objects, her oil lamp, eating utensils, and several items of clothing.
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The current line up of performers in Renaissance is Dragan Mlađenović, Georges Grujić and Ljubomir Dimitrijević on the woodwind instruments, Zoran Kostadinović on the vielle, Miomir Ristić and Srđan Stanić on the fiddle and the viol, Darko Karajić on the instruments from the family of lutes, Marcella Francesco-Lukić (mezzo-soprano), Predrag Đoković (countertenor), and Veljko Nikolić-Papa Nick on the percussion instruments. Some of the previous members of the ensemble include Vojka Đorđević (soprano), Ljudmila Gross-Marić (soprano), Dragana Jugović del Monaco (mezzo-soprano), Mirjana Savić (soprano), Mila Vilotijević (soprano), Gordana Kostić (soprano), Iskra Uzelac-Manojlović (soprano), Dušica Obradović (soprano), Miroslav Marković (baritone), Dragoslav Aksentijević-Pavle (domestikos), Svetislav Madžarević (lutes), Slobodan Vujisić (Serbian and Renaissance lutes), Ljubica Grujić (spinet and organ), Tea Dimitrijević (spinet and organ), Danijela Dejanović (spinet and organ), Dragan Karolić (woodwinds), Marko Štegelman (bagpipes), Zoran Kočišević (double bass), Vladimir Ćirić (percussion instruments), Boris Bunjac (percussion instruments), Jovan Horvat (percussion instruments) and others.
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She studied standard subjects as well as French composition, Latin, "social science", singing, and music. She could dance and play the spinet. Jane McGraw co-founded the Ladies' Union Benevolent Society. Jennie helped run a home for women over the age of 65.
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Czech music reached as far as Qing China. Karel Slavíček was a Jesuit missionary, scientist and sinologist who was introduced to the Kangxi Emperor on February 3, 1717, in Beijing. The emperor favored him and employed him as court musician. (Slavíček was a Spinet player).
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Eloise sits down at the spinet and begins to play, as Raoul comes in again. He tells her, "I mean what I said. I do love you",Coward, p. 275 and she replies that it has "been obvious since the first moment I came into the house".
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The Spinet in the Print Room was made by Benjamin Slade in 1702. It has been at the Red Lodge since at least 1935 when Alec Hodson restored it. The Museum and the Bristol Savages tune it every year and it is used as part of the Savages' festivities.
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Italian Jesuit Matteo Ricci (1552–1610) was the first European allowed into the Forbidden City. He taught the Chinese how to construct and play the spinet, translated Chinese texts into Latin and vice versa, and worked closely with his Chinese associate Xu Guangqi (1562–1633) on mathematical work.
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During the remaining years of the 17th century, Cristofori invented two keyboard instruments before he began his work on the piano. These instruments are documented in an inventory, dated 1700, of the many instruments kept by Prince Ferdinando. Stewart Pollens conjectures that this inventory was prepared by a court musician named Giovanni Fuga, who may have referred to it as his own in a 1716 letter.The inventory is published in Gai 1969. The spinettone, Italian for "big spinet", was a large, multi-choired spinet (a harpsichord in which the strings are slanted to save space), with disposition 1 x 8', 1 x 4';van der Meer 2005, 275 most spinets have the simple disposition 1 x 8'.
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The L-100 spinet was particularly popular in the UK. Though the instrument had been originally designed for use in a church, Hammond realized that the amateur home market was a far more lucrative business, and started manufacturing spinet organs in the late 1940s. Outside of the United States, they were manufactured in greater numbers than the consoles, and hence were more widely used. Several different types of M series instruments were produced between 1948 and 1964; they contained two 44-note manuals with one set of drawbars each, and a 12-note pedalboard. The M model was produced from 1948 to 1951, the M-2 from 1951 to 1955, and the M-3 from 1955 to 1964.
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Kimball also made upright pianos in and sizes, but not smaller spinet models; a decision which allowed great profits to be made by competitors. However, Kimball produced inexpensive console pianos, between upright and spinet size, in a subsidiary plant across the Texas–Mexico border in Reynosa, doing business as Kimco. Based on the success of piano and organ sales, Jasper determined to leverage the Kimball brand recognition to assist sales of office furniture, home furniture and electronics. Company leaders realized that the Kimball brand had far greater popular recognition than the Jasper brand, and in 1974, Jasper changed its name to Kimball International, going public in September 1976 with the initial public offering of 500,000 shares of common stock.
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One feature of the spinet is automatic chord generation; with many models, the organist can produce an entire chord to accompany the melody merely by playing the tonic note, i.e., a single key, on a special section of the manual. On spinet organs, the keyboards are typically at least an octave shorter than is normal for organs, with the upper manual (typically 44 notes, F3–C7 in scientific pitch notation) omitting the bass, and the lower manual (typically F2–C6) omitting the treble. The manuals are usually offset, inviting but not requiring the new organist to dedicate the right hand to the upper manual and the left to the lower, rather than using both hands on a single manual.
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350px Self-Portrait at a Spinet is a c.1555 oil on canvas painting by Sofonisba Anguissola, now in the National Museum of Capodimonte in Naples. It was in cardinal Fulvio Orsini's collection, which passed to Odoardo Farnese in 1600. Orsini's collection also included Anguissola's Partita and two drawings by her.
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René Mésangeau (or Mézangeau, Mesangio, Mésengeot, Mesengé, Meziniot, Meschanson, Mesangior, Mazagau, Merengeau, Messangior, Mezanio, and Mezengau) (fl. 15671638) was a French composer and lutenist. He is considered to be one of the finest lutenists of the 17th century. In 1619, he settled in France and married the daughter of the spinet maker Jean Jacquet.
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Aeolian revived the Pianola, albeit this time in a small spinet piano suited to post-war housing. Other manufacturers followed, and production has continued intermittently ever since. QRS today offer a traditional player piano in their Story and Clark piano. In recent years, there has been greater focus on full rebuilding as original instruments finally stop working.
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Electone is the trademark used for electronic organs produced by Yamaha. With the exception of the top end performance models, most Electones are based on the design on the spinet electronic organ. Current models are completely digital and contain a variety of sounds, effects, and accompaniments, on top of the ability to store programming data onto memory devices.
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Her best-known work is her self-portrait (Kunstmuseum Basel). She inscribed the painting with the year, 1548, and her age, 20 years.Kleiner, 519 Around the same time she also painted a picture of a woman at a spinet, which may have been a portrait of her sister. van Hemessen's portraits are characterized by their realism.
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The firm's violin department, independently directed by Rembert Wurlitzer (1904–1963) from 1949, became a leading international centre for rare string instruments. Among Wurlitzer's electronic instruments, beginning with electric reed organs in 1947, the most important have been the fully electronic organs, especially the two-manual-and-pedals ‘spinet’ type (from 1971 with synthesizer features) for domestic use.
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Petrie owns but does not actually play an 1875 Mackenzie Piano Harp, patented and built in Minneapolis along the lines of a small spinet. About 30 Mackenzie piano harps are known to survive today. She in fact plays an instrument by Texas maker Russell Cook, and a santur made in Athens, Greece. She lives in northern California.
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They face in opposite directions, plucking the adjacent string on either side of the wider gap. The fact that half of the gaps are four millimetres instead of ten makes it possible to crowd more strings together into a smaller case. Diagram showing the arrangement of jacks and strings in a bentside spinet. For explanation, see main text.
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Spinet models have 12- or 13-note miniature pedalboards. Hammond organ manuals and pedalboards were originally manufactured with solid palladium alloy wire to insure a high-quality electrical connection when pressing a key. This design was discontinued with the introduction of the transistor organ. This means tonewheel organs have between 3.2 grams and 8.4 grams of palladium, depending on make and model.
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They are informally called birdcage pianos because of their prominent damper mechanism. The oblique upright, popularized in France by Roller & Blanchet during the late 1820s, was diagonally strung throughout its compass. The tiny spinet upright was manufactured from the mid-1930s until recent times. The low position of the hammers required the use of a "drop action" to preserve a reasonable keyboard height.
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Likewise, the French derivation from spinetta, épinette, is specifically what the virginals is called in French, although the word is also used for any other small quilled instrument, whether a small harpsichord or a clavichord. In German, Spinett and Querflügel are used. A dumb spinet is a manichord or "clavichord or clarichord", according to the 1913 edition of Webster's Dictionary.
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Karl Formes derived from the Spanish family of Formes-de-Varaz, settled in Germany since the 16th century.Memoirs, 169-70. His father was sacristan of the Roman Catholic church at Mülheim, and Karl was eldest of seven sons and one daughter. He began by singing in the church choir, received keyboard (spinet) lessons and became adept at the organ and the guitar.
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The spinettone was a kind of spinet, which means specifically that its strings were placed in pairs along a diagonal relative to the position of the keyboard. The jacks that plucked the strings were placed in opposite-facing pairs within the larger gaps between strings. Most spinets are smaller than regular harpsichords. The spinettone was very long, but narrower than a regular harpsichord.
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The first chord organ (1950 Hammond S-6). Array of buttons on left side are used to play chords. Shortly after the debut of the spinet, the chord organ appeared. This is an even simpler instrument designed for those who wanted to produce an organ sound in the home without having to learn much organ (or even piano) playing technique.
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The typical chord organ has only a single manual that is usually an octave shorter than its already-abbreviated spinet counterpart. It also possesses scaled-down registration and no pedalboard. The left hand operates not a keyboard but an array of chord buttons adapted from those of an accordion. The original Hammond chord organs in 1950 are electronic instruments using vacuum-tube technology.
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This seemed designed in part to encourage the pianist, who was accustomed to a single keyboard, to make use of both manuals. Stops on such instruments, relatively limited in number, are frequently named after orchestral instruments that they can, at best, only roughly approximate, and are often brightly colored (even more so than those of theatre organs). The spinet organ's loudspeakers, unlike the original Hammond models of the 1930s and 1940s, are housed within the main instrument (behind the kickboard), which saved even more space, although they produce a sound inferior to that of free-standing speakers. The spinet organ's pedalboard normally spans only a single octave, is often incapable of playing more than one note at a time, and is effectively playable only with the left foot (and on some models only with the left toes).
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A rare item in the collection is a suite of six elaborately decorated silver trumpets made in 1716 by Michael Leichamschneider of Vienna – one of only two documented sets in existence. The Nelahozeves Castle Music Room displays a spinet dated 1799 by imperial court instrument maker Engelbert Klingler, a contrabass by Posch and other string instruments as well as two pairs of copper and bronze kettledrums.
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He authored several books, including Bibliotheca madrigaliana: A bibliographical account of the musical and poetical works published in England during the sixteenth and seventeenth centuries, under the titles of Madrigals, Ballets, Ayres, Canzonets, etc., etc. (1847), The Pianoforte, its Origin, Process, and Construction; with some account of instruments of the same class which preceded it; viz. the clavichord, the virginal, the spinet, the harpsichord, etc.
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The internal mechanism that accomplished this was the same as the one that Cristofori had earlier used for his oval spinet.See Detail of the spinettone illustrated above, showing the separate bridges employed for the iron strings in the top range. The four bridges are as follows: top left, four-foot bridge for lower strings (brass); top right, eight-foot bridge for lower strings (brass); lower left, four-foot bridge for higher strings (iron); lower right, eight-foot bridge for upper strings (iron) As points out, the design of the spinettone attested to the extraordinary ingenuity of its inventor, which has been remarked on by a number of modern scholars (see Bartolomeo Cristofori). It is not at all straightforward to fit two sets of paired spinet jacks into the ordinary string layout of a spinet, which is more crowded owing to the slant of the strings.
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He began his interest in music very early. At home his parents had a Lester Spinet piano, and as soon as he was tall enough to reach the keys, he taught himself to play by ear. "I recognized chord progressions and melodies, and I could reproduce them after I had listened to them." He started taking piano lessons at age 8, although he already knew how to play and compose blues.
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The spinet, too has its merit ... methinks music is well as an amusement, but not as a study.’ In 1779 she married Dr Hugh Rose of Broadley, who died two years later, and they had two children. After the death of her brother, the 18th Baron of Kilravock, and a five-year long contest over succession rights, she was granted title to most of the estates, including Kilravock.
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Intabolatura Nova di Balli, a representative collection of 25 pieces published in 1551, includes the preface "dances of various kinds, to be played on the arpicordo, harpsichord, spinet or clavichord, by divers and most excellent composers," but lacks attributions. The collection contains many of the popular dance forms of the day, including galliards, pavanes and passamezzi. The original print is held by the Civico Museo Bibliografico Musicale in Bologna.
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Cf. Beauhaire. An extract from the poster of the Puy d'Évreux in 1667 (AD Eure : D 5) He returned to Le Mans around Christmas 1664, where he succeeded Jean Colin as chapel master of the Saint-Julien cathedral.AD Sarthe: G 936, 19 December 1664, 9 March, 15 April, 15 May and 1 June 1665, mentioned after Granger 1996 p. 1022. Shortly thereafter, he asked the Chapter to purchase a spinet.
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However, according to piano author Larry Fine, the cost in quality was considerable. The stickers were "often noisy and troublesome." Moreover, to make room for them, the keys had to be made shorter, resulting in "very poor leverage" and thus a poor sense of touch and control for the player. Lastly, the very short strings of the spinet resulted in a narrow range of harmonics and thus in poor tone quality.
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A spinet is a harpsichord with the strings set at an angle (usually about 30 degrees) to the keyboard. The strings are too close together for the jacks to fit between them. Instead, the strings are arranged in pairs, and the jacks are in the larger gaps between the pairs. The two jacks in each gap face in opposite directions, and each plucks a string adjacent to the gap.
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Maintaining the integrity of the case was evidently important to Cristofori. Later on, in his (standardly-shaped) pianos and harpsichords, he employed two separate bentsides, one to support the soundboard and the other to bear the tension of the strings. This protected the soundboard from possible warping should the outer bentside be pulled out of position. A second advantage of Cristofori's oval spinet design is that it allows for a more compact instrument.
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The lowest F# and G# on the keyboard of the 1690 oval spinet are split. The purpose was to include the low notes C and D in a compact keyboard. A rather complex arrangement of key levers (see keyboard diagram above) permits both halves of the split keys to control their own jacks. The assignment of keys to pitches is the broken octave, which was a system of pitch assignment used in early keyboard instruments.
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The following diagram shows the assignment of pitches to the bottom eight notes of the keyboard:center The somewhat cumbersome scheme is less awkward than it might initially seem, since it would have been troublesome only in rapid chromatic passages, which seldom occur in this pitch range. The other surviving oval spinet by Cristofori, from 1693, has no split keys, but implements the same range (four octaves, C to c) using a normal keyboard.
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Verdi had a younger sister, Giuseppa, who died aged 17 in 1833. She is said to have been his closest friend during childhood. From the age of four, Verdi was given private lessons in Latin and Italian by the village schoolmaster, Baistrocchi, and at six he attended the local school. After learning to play the organ, he showed so much interest in music that his parents finally provided him with a spinet.
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It quickly expanded to make band organs, orchestrions, player pianos and pipe or theatre organs popular in theatres during the days of silent movies. Wurlitzer is most known for their production of entry level pianos. During the 1960s, they manufactured Spinet, Console, Studio and Grand Pianos. Over time, Wurlitzer acquired a number of other companies which made a variety of loosely related products, including kitchen appliances, carnival rides, player piano rolls and radios.
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Then, the "Run" switch is turned on for about four seconds. The "Start" switch is then released, whereupon the organ is ready to generate sound. The H-100 and E-series consoles and L-100 and T-100 spinet organs, however, had a self- starting motor that required only a single "On" switch. A pitch bend effect can be created on the Hammond organ by turning the "Run" switch off and on again.
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The company had stopped manufacturing tonewheel organs entirely by 1975, due to increased financial inefficiency, and switched to making IC models full-time. Console models included the 8000 Aurora (1976) and 8000M Aurora (1977), which contained drawbars and a built-in rotating speaker. Spinet organs included the Romance series, manufactured between 1977 and 1983. In 1979, a Japanese offshoot, Nihon Hammond, introduced the X-5, a portable solid-state clone of the B-3.
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Depiction of Kangxi Emperor, who ordered Slavíček to make precise map of Beijing in 1717 After reaching Macao they acquired local clothes and adopted local haircuts. On 3 February 1717 Slavíček was introduced to the Kangxi Emperor in Beijing, who employed him as court musician. (Slavíček was a Spinet player). In 1717 Slavíček made the first precise map of Beijing, putting to use know-how obtained previously while working on the map of Prague.
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Elizabeth Rose was born on 8 March 1747 in Kilravock, Scotland. She was the daughter of Hugh Rose, 17th Baron of Kilravock, and Elizabeth Clephane. She was educated with her brothers, and entirely by men. She played the violin like her male counterparts with the instrument supported against her shoulder. Her uncle, John Clephane, advised her ‘‘Reading and writing and playing on the spinet is all very well …The two first deserve great application.
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A modern electronic organ (Yamaha Electone STAGEA ELS-01). Though it resembles a 1950s spinet organ in appearance, its digital tone generators and synthesis modules can imitate hundreds of instruments. A modern digital combo organ using DSP technology (Nord Electro 2). Electronic organs are still made for the home market, but they have been largely replaced by the digital keyboard or synthesizer which is smaller and cheaper than typical electronic organs or traditional pianos.
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Drury was born and raised in Los Angeles, California. He is the son of the late actor James Drury and Cristall Orton Drury, and has an older brother, James III. His interest in music began when he was a small boy, and by the age of 5 he was taking piano lessons on a spinet piano his maternal grandmother had purchased. By the age of 11, he was writing his first songs and melodies.
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Cristofori's design permits a structurally very stable instrument. In a normal harpsichord, the far ends of the strings pull on the bentside (the long, curved, slanting side of the case, at the player's right). For reasons having to do with the string lengths, the curve of the bentside must be concave, making it naturally weak. In contrast, in an oval spinet the strings pull at either end on a convex arch, an inherently very strong configuration.
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Prior to the widespread availability of lightweight electronic clonewheel organs in the 1980s and 1990s that emulate the sound of a heavy, electromechanical Hammond organ, many cities had organ stores which sold large electric and electronic theatre organs and spinet organs made by Hammond, Lowrey and other manufacturers. These organs were sold for use in private homes and in churches; electric and electronic organs were popular for churches, because they cost significantly less than a pipe organ.
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Hence, piano designers choose high quality steel for their strings, as its strength and durability help them minimize string diameters. If string diameter, tension, mass, uniformity, and length compromises were the only factors—all pianos could be small, spinet- sized instruments. Piano builders, however, have found that longer strings increase instrument power, harmonicity, and reverberation, and help produce a properly tempered tuning scale. With longer strings, larger pianos achieve the longer wavelengths and tonal characteristics desired.
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University of North Carolina Press, Chapel Hill, 1989. p.345 the Mathushek Piano Manufacturing Company brought out Spinet Grand square pianos which occupied "only the space of a lounge"Federal Trade Commission Decisions, Government Printing Office, Washington, D. C. 1939. p.1151 which updated the old colibri design and substituted current grand piano actions and dampers. A patent for improvements incorporated in it was issued to Fernando A. Wessell, of Red Bank, New Jersey in 1935.
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The west side of the first floor is occupied by the gallery, which has been described as "one of the great rooms of Cheshire". It contains most of the finest furniture from the house. The items include mirrors and marble tops attributed to the London workshops of Thomas Chippendale, and sofas attributed to George Bullock. There is more furniture by Gillow, a "very rare" 17th- century English virginal signed "Phillip Jones", and an Italian spinet dating from about 1598.
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In Canadian heraldry, it is the cadency mark of a ninth daughter. It is generally said to represent a kind of wind instrument such as a panpipe or recorder, but does not resemble the trumpet-like clarion known to modern musicians. It may also be intended as an overhead view of a keyboard instrument such as a spinet. Alternatively it has been said to represent a 'rest', a device used by mediaeval knights to support a lance during jousting.
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The novelty of Cristofori's spinettone was that unlike any other spinet, it deployed multiple choirs of strings. Its disposition was 1 × 8′, 1 × 4′, which means one set of strings in the normal octave and one set that sounded an octave higher. As with all multichoired harpsichords, this necessitated two sets of jacks, one for each choir. The player could choose which choir of strings would sound (8′, 4′, or both together) by sliding the keyboard forward and backward.
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Console organs, large and expensive electronic organ models, resemble pipe organ consoles. These instruments have a more traditional configuration, including full-range manuals, a wider variety of stops, and a two-octave (or occasionally even a full 32-note) pedalboard easily playable by both feet in standard toe-and-heel fashion. (Console organs having 32-note pedalboards are sometimes known as "concert organs.") Console models, like spinet and chord organs, have internal speakers mounted above the pedals.
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This drawing was originally in the collection of cardinal Fulvio Orsini; around 1600 it was inherited by cardinal Odoardo Farnese, together with other works by Sofonisba Anguissola: The Game of Chess, the Self Portrait at the Spinet, and an unidentified drawing. Then it came to the Bourbon of Naples, via the Farnese inheritance and is present in the 1644 and 1653 inventories of Palazzo Farnese, in Roma. In 1799 was taken to Naples and here the attribution to Sofonisba Anguissola was lost.Bora, p.
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The first two, the oval spinet (1690) and the spinettone, were probably intended for Ferdinando to play the continuo part in musical productions at Pratolino. The third instrument Cristofori invented for Ferdinando was the piano, which spread slowly at first (see Fortepiano) but ultimately became one of the most important of all musical instruments. The invention of the piano is believed to have occurred in about 1700; Cristofori built several more pianos for Ferdinando during the remainder of the Prince's lifetime.
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MET 89.4.1196) The Flemish school, in particular the Ruckers family, produced a special type of virginals known as Mother and Child (moeder und kind). This consisted of two instruments in one: a normal virginals (either spinet or muselar) with one (say) 6′ register, and an ottavino with one 3′ register. The smaller ottavino was stored (rather like a drawer) under the soundboard next to the keyboard of the larger instrument, and could be withdrawn and played as a separate keyboard instrument.
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Musing on the winning sequence of three cards, the others lightly suggest that this might be the way for Herman to win without risking any money. Threatened by approaching thunder, all leave except Herman, who vows to learn the Countess's secret. Scene 2 At home, Liza plays the spinet as she and her friend Pauline sing a duet about evening in the countryside. Their girlfriends ask to hear more, so Pauline launches into a sad ballad, followed by a dancelike song.
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Lars Fredrik Frøislie (born 28 July 1981 in Hønefoss, Norway) is a Norwegian musician. His main instruments are keyboards and drums. He is also a music producer and runs Termo Records together with Jacob Holm-Lupo. Frøislie mainly uses vintage analog instruments like Mellotron M400, Chamberlin M-1, MiniMoog Model D, Hammond C3, Rhodes MkII, Hohner Clavinet D6, Arp synthesizers, Sequential Circuits Prophet-5, Roland VP-330, Solina String Ensemble, Korg VC-10, Spinet, Upright Piano, Marxophone, Tremoloa and so on.
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Thomas Californian 253 (c.1971) These features and others were incorporated across the product line throughout the 1960s, including small, relatively inexpensive spinet models with 37-note manuals (the AR1) and a unique "arc" 13-note pedal board, another Thomas Organ innovation, although one which was too narrow to allow true heel-toe playing. Thomas however did lengthen the pedals to enable theoretically at least heel and toe playing. Especially remarkable was the fact that the spinets started around US$500.
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Typically, there are very short sides at the right rear and on the left, connecting the bentside to the long side and the long side to the front. The other major aspect of spinet design is that the strings are arranged in pairs. The gap between the two strings of a pair is about four millimetres, and the wider gap between pairs is about ten. The jacks (which pluck the strings) are arranged in pairs as well, placed in the wider gap.
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For an exception to this point, see "spinettone", below. Spinet by Zenti from 1637, now in the Musical Instrument Museum in Brussels The angling of the strings also had consequences for tone quality: generally, it was not possible to make the plucking points as close to the nut as in a regular harpsichord. Thus spinets normally had a slightly different tone quality, with fewer higher harmonics. Spinets also had smaller soundboards than regular harpsichords, and normally had a weaker sound.
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The authorized loudspeaker enclosure to use with a console organ was the Hammond Tone Cabinet, which housed an external amplifier and speaker in a cabinet. The cabinet carried a balanced mono signal along with the necessary mains power directly from the organ, using a six-pin cable. Spinet organs contained a built-in power amplifier and loudspeakers, so did not require a tone cabinet. The tone cabinet was originally the only method of adding reverberation to a Hammond organ; reverb was not fitted to older organs.
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After his retirement, Chambonnières must have continued to perform in order to make a living, but only a single record of a concert survives, that for 1 November 1665 at the Duchess of Orleans' salon. He published two volumes of harpsichord pieces in 1670 and died two years later, in difficult financial circumstances. The posthumous inventory of his property survives, listing furniture, tapestries, etc., in mediocre condition, as well as four keyboard instruments: two harpsichords (one probably a two-manual instrument), a spinet and a regal.
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This invention may have been meant to fit into a crowded orchestra pit for theatrical performances, while having the louder sound of a multi-choired instrument. The other invention (1690) was the highly original oval spinet, a kind of virginal with the longest strings in the middle of the case. Cristofori also built instruments of existing types, documented in the same 1700 inventory: a clavicytherium (upright harpsichord), and two harpsichords of the standard ItalianHubbard 1967, Chapter 1 2 x 8' disposition; one of them has an unusual case made of ebony.
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The colors of the dots superimposed on the keyboard match the corresponding jack slots. For a detailed version of this image, click on it and follow links. Unlike in a virginals, the longest strings in an oval spinet are placed in the middle. The strings are arranged so the pair of strings that sounded the lowest note (C) are precisely in the middle, the next lowest pair (C#) is just behind the lowest pair, the third lowest pair (D) just in front of the lowest pair, and so on.
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When the strings of a keyboard instrument are laid out in the simplest way (ascending in pitch from left to right, as in full-size harpsichords), the resulting triangular shape is space-consuming and inefficient. The spinet harpsichord, which saves space by arranging the strings in slanted pairs, is still much longer than it is wide. Virginals, which enclose their triangle of strings in a rectangular box, have a great deal of unused space. In comparison with these designs, Cristofori's quasi-oval layout stands out for its compactness and efficiency.
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Cristofori enhanced the difference in plucking points by placing the plectra on opposite sides of the jack in the two choirs, as seen in the detail figure below. 550px In playing the oval spinet, the player selects a registration; that is, the particular choirs (longer strings, shorter strings, or both together) that will be sounded when a key is depressed. Cristofori accomplished this end with an ingenious mechanical arrangement. For the keys that play the near row of jacks (closer to the player), the mechanism works like this.
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The long period when the instrument sat unnoticed was due in part to delays in the transfer of the Bardini collection from his heirs to public ownership. The instrument was noticed when the collection was finally acquired by the Italian state and submitted to a systematic inventory. It is unknown how the spinet made its way into Bardini's hands. 550px The 1690 instrument (shown above) has an outwardly decrepit appearance, but is of great historical value, for it appears that in all of the three centuries of its existence it has never been restored.
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Her eyesight was failing, and she was overwhelmed by money problems. She said in a letter to Tim Coombs "I often think how wonderful it would have been to live in 88 with an adequate income, as it was such a beautiful house, but it was a 24-year struggle to make ends meet." She had known Malham since 1932 and had many friends there. Friends made at London continued to visit her, she had her cats and she had her music (she played the spinet, the organ, the flute and the viol).
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For example, A-105 was "Tudor styling in light oak or walnut", while the A-143 was "warm cherry finish, Early American styling". This model numbering scheme was used for several other series of console and spinet organs that subsequently appeared. The D-100 series, which provided a self- contained version of the RT-3, followed in 1963. The E-100 series was a cost- reduced version of the A-100 introduced in 1965, with only one set of drawbars per manual, a reduced number of presets, and a slightly different tone generator.
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Another example is the tritave of the Bohlen–Pierce scale (3:1). Octave stretching is less apparent on large pianos which have longer strings and hence less curvature for a given displacement; that is one reason why orchestras go to the expense of using very long concert grand pianos rather than shorter, less expensive baby grand, upright, or spinet pianos. Another reason is that long strings under high tension can store more acoustic energy than can short strings, giving larger instruments more volume and better sustain than similar, smaller instruments.
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Jordan was born into the family of insurance agent Kaspar Joachim Jordan (1859–1924) and Anne Marie Margrethe Kjærbye (1866–1935) from Denmark. From 1918 to 1949 he was married to the actress Magda Blanc, then in 1949 to actress Nina Sandvik Kristensen (29 March 1920 – 30 October 1996). The family had a significant musical background, and there is a painting with Grandpa Caspar Jordan at the spinet. An aunt of his was a well known pianist in Denmark, but Jordan was not destined to become "the musician" of the family.
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The spinet was also the bane of piano technicians. Concerning the difficulty of servicing them, Fine writes > Spinets ... are very difficult to service because even the smallest repair > requiring removal of the action becomes a major ordeal. Each of the > connecting stickers has to be disconnected and tied up to the action and all > the keys have to be removed from the piano before the action can be lifted > out.Not all spinets had this design; some utilized a method of making a > railing for the rods to terminate sticker connection to the keys.
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This activates a row of levers that turn a trigger mechanism that plucks one or more strings with a small plectrum made from quill or plastic. The strings are under tension on a soundboard, which is mounted in a wooden case; the soundboard amplifies the vibrations from the strings so that the listeners can hear it. The term denotes the whole family of similar plucked-keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was widely used in Renaissance and Baroque music, both as an accompaniment instrument and as a soloing instrument.
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The music video for "Fireflies" was directed by Steve Hoover. It features Adam Young playing the song on a Lowrey spinet organ in a toy-filled bedroom, where most of the toys (including an astronaut, a Tyrannosaurus rex, a Speak & Spell, toy cars including one based on Brum, and a blimp) come to life. Most of the toys are older model toys, with most of them from the 1970s and 1980s (the exceptions being a Robosapien and a Roboraptor). There are also vintage household devices such as a black and white television and a record player.
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Mainwaring tells the story of Handel's secret attic spinet: Handel "found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep". Although both John Hawkins and Charles Burney credited this tale, Schoelcher found it nearly "incredible" and a feat of "poetic imagination" and Lang considers it one of the unproven "romantic stories" that surrounded Handel's childhood. But Handel had to have had some experience with the keyboard to have made the impression in Weissenfels that resulted in his receiving formal musical training.
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There are a couple of known claviorgans that were ‘show’ instruments. One surviving example is an automatic claviorgan by Matteus Rungell which is now in a museum in Dresden combining an organ and a spinet. However, a more famous example is the ‘Galleria armonico’ assembled by Michelle Todini in Rome in the seventeenth century, and which ended its days in the palace of the Verospi marquises, now the Palazzo del Credito Italiano. This consisted of two rooms, one of which contained seven keyboard instruments all of which were said to be controlled from the keyboard of a harpsichord.
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Guttenbrunn's portrait of Haydn, seen below, exists in two versions. It is possible that the first dates from his encounter with Haydn at the Esterházy court in the early 1770s, and the second from their encounter in London in the early 1790s. The second version is more detailed than the first, and was the basis for an engraving (1792) by Luigi Schiavonetti.Harrison (1997,6) The portrait shows Haydn in the act of composing: he is seated at a keyboard,Harrison judges that the instrument is a square fortepiano; Zaslaw and Cowdery (1990, 304) opine that it is either a spinet harpsichord or a clavichord.
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The Moog Taurus is a foot-operated analog synthesizer designed and manufactured by Moog Music, originally conceived as a part of the Constellation series of synthesizers. The initial Taurus I was manufactured from 1975 to 1981; a less successful redesign, Taurus II, followed from 1981 to 1983. Instead of a conventional keyboard, the Taurus uses an organ-style pedal board similar to the pedal keyboard of a spinet organ. This control method was chosen because the Taurus was intended to be played by foot while the player's hands played one or more keyboards, although it was often used by guitarists.
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From 1966 to 1971, Lowrey also produced combo organs for Gibson while the guitar manufacturer was owned by parent company Chicago Musical Instruments. The most popular of these was first introduced in 1966 as the Kalamazoo K-101, but was renamed the Gibson G-101 shortly thereafter. The Gibson branded organs' design and circuitry were similarly based on Lowrey's own "T-1" and "T-2" models, as well as their "TLO-R" and "Holiday" spinet models. However, they had several additional features that made their sound distinctive from other Lowrey models, including "Repeat", "Glide", and "Trumpet Wow-wow" effects.
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Gabriël Metsu - The Spinet The Wernher Collection was assembled by the German-born diamond magnate Sir Julius Wernher in the late 19th and early 20th centuries. Wernher lived at Bath House on Piccadilly and Luton Hoo in Bedfordshire. At one time part of the collection was on display to the public at Luton Hoo, which was owned by Sir Julius' descendants until the early years of the twenty first century. There are about 700 items on display at Ranger's House occupying twelve rooms, some of which have been decorated to evoke the way the collection was displayed when it was at Bath House.
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United States Patent 26,550, December 20, 1859; F. Mathushek. Piano. United States Patent 30,279, October 2, 1860 These overstrung pianos had closely spaced strings arranged at sharp angles to the keyboard following the same principles as the bichord parlor grands introduced in America by Chickering and Sons in the early 1850s (now known as cocked hats) as well as spinet harpsichords, and were also meant to have string clamp bridge agraffes deflecting the strings in order to draw the concave sounding board upwards.N. E. Michel Historical Pianos, Harpsichords and Clavichords Pico Rivera, California, 1970. "Orchestral harp shaped or 'cocked hat' grand piano", p.
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Todestag von Georg Philipp Telemann Personalia, 25 June 2017 The presentation highlights his personality, including his passion for his botanic garden, and the signification he had musically and culturally in his era.Stadt Hamburg, Telemann-Museum A great deal of the musical attention is spent to his compositions for the civilians and of church music. The museum houses old archives and maintains an extensive library of books that center around the history of music and culture of the 18th century. The exposition shows first issues and a number of utensils, like an original spinet from 1730 of the builder Thomas Hitchcock.
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390px Self-portrait at an Easel is a c.1556-1565 oil on canvas painting by Sofonisba Anguissola, now in Łańcut Castle. From the same era as Self-Portrait at a Spinet (Naples) it shows the artist painting a devotional canvas and is one of a group of self-portraits which also includes Self-Portrait (Vienna) and Miniature Self Portrait (Boston)Anthony Bond, Joanna Woodall, Self portrait: Renaissance to contemporary: National portrait gallery, London; Art gallery of New South Wales, Sydney, London, National Portrait Gallery, 2005, SBN IT\ICCU\MOD\0975503. Con testi di T. J. Clark, Ludmilla Jordanova, Joseph Leo Koerner..
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The period interiors of the Ringve Manor House provide the setting for themed rooms of working – mainly keyboard – instruments. In this section, open by guided tour only, the guides (often graduate music students) play an appropriate piece of music (or extract) as the tour proceeds. The first room is called the Mozart room and contains a spinet, clavichord and a domestic or house organ, from the 18th century. A Murano glass chandelier hangs from the ceiling. The next room is called the ‘Beethoven’ and contains a harp piano of 1870 by Dietz, and a piano of type favoured by Beethoven.
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The style of popular organ music of the 20th and 21st centuries such as jazz is highly dynamic and requires constant use of the expression pedal in a fashion very different from that of classical organ literature. This tendency increased with the arrival of spinet organs and modern synthesizers, which offset the expression pedal and reduced the size of the pedalboard. These changes allowed the organist to keep the right foot constantly on the expression pedal, while playing the pedalboard with only the left foot. This ability encouraged organists to operate the expression pedal more often during playing.
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The New Spinet Maiden meditation (1866 - watercolour) Piano practice, by 1924 George's paintings often portrayed the upper classes and ultra-fashionable female beauties in opulent late 18th and early 19th-century settings. His depiction of this beauty was heightened by his attention to detail with dress, and richly decorated interiors. During the period his paintings would have been considered traditional, especially compared to the work of contemporaries such as James McNeill Whistler and the Pre-Raphaelite Brotherhood. Kilburne travelled extensively in Italy around 1875, and painted in Rome for three months, besides working in Venice at that time, and also in 1876.
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As in all harpsichords, the strings in the oval spinet are plucked by plectra suspended in jacks, thin vertical strips of wood. Each jack rises from the far end of its key, passes through a guiding register in the soundboard, and terminates adjacent to its assigned string, close enough for the bit of quill held by the jack - the plectrum - to pluck the string. In the diagram above, keys labeled with aqua dots lift the jacks that pass through the slots shown in aqua, and keys labeled in maroon control jacks passing through slots labeled with the same color. This arrangement is feasible because the keys are of alternating lengths.
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The family portrait was commissioned by Balthasar Hoefnagel (before 1554-1608), which explains the initials 'BH' near the spinet on the table. It is plausible that the family portrait is related to a marriage of Balthasar and Anna van Lieffelt, who can be recognized on the left of the panel as the bride and groom. For this occasion Balthasar also commissioned from Pourbus two additional portraits of himself and his wife, which were still unpaid to Pourbus at the time of his death, according to a record of his estate. The family portrait of the Hoefnagel family depicts twenty people in a genre-like composition arranged around a table.
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This is the more common arrangement for modern instruments, and an instrument described simply as a "virginal" is likely to be a spinet virginals. The principal differences in construction lie mainly in the placement of the keyboard: Italian instruments invariably had a keyboard that projected from the case, whilst northern virginals had their keyboards recessed in a keywell. The cases of Italian instruments were made of cypress wood and were of delicate manufacture, whilst northern virginals were usually more stoutly constructed of poplar. Early Italian virginals were usually hexagonal in shape, the case following the lines of the strings and bridges, and a few early Flemish examples are similarly made.
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A piano with an aluminum piano plate, called the Alumatone plate, was created in the late 1940s by Winter and Company, piano manufacturers, and Alcoa, a manufacturer of aluminum and aluminum products. The metal frame of a piano, often called the plate or harp, anchors both ends of the strings, withstanding a tension of 20 tons or more. The first completely metal frames were patented in the mid-1820s, and they are now generally cast in iron. The similar strength of aluminum and cast iron permitted the weight of the cast metal frame to be reduced more than 60 percent, to as little as 45 pounds for a spinet.
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Early Hammond console models had sharp edges, but starting with the B-2, these were rounded, as they were cheaper to manufacture. The M series of spinets also had waterfall keys (which has subsequently made them ideal for spares on B-3s and C-3s), but later spinet models had "diving board" style keys which resembled those found on a church organ. Modern Hammond-Suzuki models use waterfall keys. Hammond console organs come with a wooden pedalboard played with the feet, for bass notes. Most console Hammond pedalboards have 25 notes, with the bottom note a low C and the top note a middle C two octaves higher.
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The T series, produced from 1968 to 1975, was the last of the tonewheel spinet organs. Unlike all the earlier Hammond organs, which used vacuum tubes for preamplification, amplification, percussion and chorus-vibrato control, the T series used all-solid-state, transistor circuitry, though, unlike the L-100, it did include the scanner-vibrato as seen on the B-3. Other than the T-100 series models, all other T-Series models included a built-in rotating Leslie speaker and some included an analog drum machine, while the T-500 also included a built-in cassette recorder. It was one of the last tonewheel Hammonds produced.
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Among other notable pieces in this collection was a spinet built by Pascal Taskin for Marie Antoinette, a virginal made for Nell Gwyn, one of the only surviving examples of keyboards from Carolean England, and a Yuan dynasty era guqin bearing the signature of noted Chinese poet and musician Zhao Mengfu. In the mid-1950s, one of the Skinner heirs, Elizabeth Kilborne Hudnut, made strides to render the collection’s treasures more accessible to the public. In 1955 she would invite a group of musicians from Vox Records to make the first public recordings of the collection, including Bruce T. Simonds, a former dean of the Yale School of music.
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"I was dinking around on a spinet piano in a music practice room at Lyons Township Junior College and wrote Kind of a Drag. I wasn't sure Carl remembered I was a songwriter until he asked if I had any tunes. Yeah, I do have something, and Carl asked when he could hear it. I remember cutting a demo of the song on acoustic guitar between shows," he recalled. Later Carl with a Wollensak tape recorder, found Jim at a club where, in the dressing room, he played his “pop genre” tune on an acoustic guitar. Months later “Kind Of A Drag” was on WLS Radio.
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But in later life, he too lost most of his money and had to supplement his income by acting as a numberer of the boxes (ticket counter) at the Drury Lane Theatre. Arne was so keen on music that he smuggled a spinet into his room and, damping the sounds with his handkerchief, would secretly practise during the night while the rest of the family slept. He also dressed up as a liveryman in order to gain access to the gallery of the Italian Opera. It was at the opera that Arne first met the musician and composer Michael Festing, who was a major influence on him.
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When Duke Ernest Augustus of Brunswick took office as Prince-Bishop of Osnabrück in September 1662, Liselotte moved with her foster parents to Iburg Castle. In 1663 Elector Charles I Louis granted Liselotte's mother Charlotte adequate monetary compensation, who then left the Heidelberg residence. Immediately afterwards the Elector brought his daughter back to the court in Heidelberg, where she received visits from her aunt Sophia a few more times. Liselotte now received a courtly education, which was customary for princely houses at the time, which, in addition to French lessons, dancing, playing the spinet, singing, handicrafts and history, consisted above all in the fact that she was regularly read from the Bible “in two languages, German and French”.
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Warner was the son of Harvard professor Langdon Warner. He attended Phillips Exeter Academy in New Hampshire, before studying acoustical and marine engineering at the University of Michigan, graduating in 1944. He served with the US Navy during World War II. He received an American-Scandinavian Foundation fellowship in 1947 to undertake further study in Sweden. During the 1960s, while working as a development engineer, Warner, with Eric Herz, designed harpsichords for the Cannon Guild, founded by James H. Cannon, Jr.. One of the harpsichords co-designed and built by Warner was the Baldwin Spinet Electric harpsichord which was used on The Beatles' song Because, and for the brief postlude on The Who's Live at Leeds album, and others.
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Herbert Heyde: Historische Musikinstrumente im Bachhaus Eisenach p. 136 no. I 80. and a spinet built 1765 in Strasbourg by Johann Heinrich Silbermann, a nephew of Gottfried Silbermann whose instruments Bach helped sell in Leipzig.Herbert Heyde: Historische Musikinstrumente im Bachhaus Eisenach p. 127 no. I 75. The Thuringian positive organ's history and Bach's biography overlap: from 1714 on, it served as a church organ in Kleinschwabhausen, about 15 km from Weimar where Bach was court organist at the time. Bach's protegée and family friend, the court organ maker Heinrich Nicolaus Trebs, repaired the organ in 1724 and 1740, and Johann Caspar Vogler, Bach's student and successor as court organist, tested the organ in 1738, 1740 and 1744.
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A further view is that the name derives from the Virgin Mary as it was used by nuns to accompany hymns in honour of the Virgin. In England, during the Elizabethan and Jacobean eras, any stringed keyboard instrument was often described as a virginals, and could equally apply to a harpsichord or possibly even a clavichord or spinet. Thus, the masterworks of William Byrd and his contemporaries were often played on full- size, Italian or Flemish harpsichords, and not only on the virginals as we call it today. Contemporary nomenclature often referred to a pair of virginals, which implied a single instrument, possibly a harpsichord with two registers, or a double virginals (see below).
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A Lowrey Royale SU500 / Palladium 630 organ (high end model) Lowrey Holiday Deluxe Model LSL (1961) has a built-in Leslie speaker. Lowrey C500 Celebration electronic organ (1977) Lowrey Genie 44 electronic organ (1970s) The Lowrey organ is an electronic organ named for its developer, Frederick C. Lowrey (1871-1955), a Chicago-based industrialist and entrepreneur. Lowrey's first commercially successful full-sized electronic organ, the Model S Spinet or Berkshire, came to market in 1955, the year of his death. Lowrey had earlier developed an attachment for a piano, adding electronic organ stops on 60 notes while keeping the piano functionality, called the Organo, first marketed in 1949 as a very successful competitor to the Hammond Solovox.
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The jam session seems to have happened by pure chance. Perkins, who by this time had already met success with "Blue Suede Shoes", had come into the studios that day accompanied by his brothers Clayton and Jay and by drummer W.S. Holland, their aim being to record some new material, including a revamped version of an old blues song, "Matchbox". Sam Phillips, the owner of Sun Records, who wanted to try to fatten this sparse rockabilly instrumentation, had brought in his latest acquisition, Jerry Lee Lewis, still unknown outside Memphis, to play piano (at the time, a Wurlitzer Spinet) on the Perkins session. Lewis's first Sun single would be released a few days later.
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Although an acoustic piano has strings, it is usually classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked (as with a harpsichord or spinet); in the Hornbostel–Sachs system of instrument classification, pianos are considered chordophones. There are two main types of piano: the grand piano and the upright piano. The grand piano is used for Classical concerto solos, chamber music, and art song, and it is often used in jazz and pop concerts. The upright piano, which is more compact, is the most popular type, as it is a better size for use in private homes for domestic music-making and practice.
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In the 1960s, home spinet organs by Hammond, Farfisa, and other manufacturers included short, 13-note bass pedals attached to the base of the chassis. In the 1970s, electronic organ makers were aware that musicians wanted organs that could be taken to gigs at bars and festivals, so organs were made more portable. To make organs more portable, they were changed from being housed in heavy wooden consoles with an integrated amplifier and speaker and bass pedals (the home organ approach) to being made as a main keyboard, a detachable stand, and detachable bass pedals. The organist was expected to plug the organ into a Leslie speaker or other instrument amplifier and speaker.
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In 1942, organ production at the North Tonawanda factory ceased and production was shifted to the manufacture of bomb proximity fuses for World War II. After the war, normal production efforts resumed but with more focus on radios, jukeboxes and small electronic organs for private homes. Among Wurlitzer's electronic instruments, beginning with electrostatic reed organs in 1947, the most important have been the fully electronic organs, especially the two-manual-and-pedals spinet type (from 1971 with synthesizer features) for domestic use. In the mid-1950s, Wurlitzer began manufacturing portable electric pianos. Rembert Wurlitzer (1904–1963) independently directed the firm's violin department from 1949 until his death in 1963, building it into a leading international center for rare string instruments.
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Villard and senior Resistance leader Spinet, "I won't waste lives on paintings"; but he has a change of heart after a cantankerous elderly engineer, Papa Boule, is executed for trying to sabotage the train on his own. After that sacrifice, Labiche joins his Resistance teammates Didont and Pesquet, who have been organizing their own plan to stop the train with the help of other SNCF Resistance members. They devise an elaborate ruse to reroute the train, temporarily changing railway station signage to make it appear to the German escort as if they are heading to Germany when they have actually turned back toward Paris. They then arrange a double collision in the small town of Rive-Reine that will block the train without risking the cargo.
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Labiche, although shot in the leg, escapes on foot with the help of the widowed owner of a Rive-Reine hotel, Christine, while other Resistance members involved in the plot are executed. The night after the collision, Labiche and Didont meet Spinet again, along with young Robert (the nephew of Jacques, the executed Rive-Reine station master) and plan to paint the tops of three wagons white to warn off Allied aircraft from bombing the art train. Robert recruits railroad workers and friends of his Uncle Jacques from nearby Montmirail, but the marking attempt is discovered, and Robert and Didont are both killed. Now working alone, Labiche continues to delay the train after the tracks are cleared, to the mounting rage of von Waldheim.
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Lowrey was the leading manufacturer of this type of organs in the smaller (spinet) instruments. In the '60s and '70s, a type of simple, portable electronic organ called the combo organ was popular, especially with pop, Ska (in the late 1970s and early 1980s) and rock bands, and was a signature sound in the pop music of the period, such as The Doors and Iron Butterfly. The most popular combo organs were manufactured by Farfisa and Vox. Conn-Selmer and Rodgers, dominant in the market for larger instruments, also made electronic organs that used separate oscillators for each note rather than frequency dividers, giving them a richer sound, closer to a pipe organ, due to the slight imperfections in tuning.
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The strings and plucking points of the 1690 oval spinet, as measured by Tony Chinnery, are in striking agreement with the same measurements from two regular harpsichords built by Cristofori decades later, in 1722 and 1726. The following chart shows the lengths of the longer set of strings: 550px The string lengths of the 1690 instrument are similar to later harpsichords, except for the lowest bass strings, where the length of the instrument doesn't match. The same is true of the plucking points, calculated as percentages of the string length for the longer choirs of strings: 550px All this suggests that Cristofori, despite a penchant for innovation, was conservative in string scaling. The consistency of the measurements also illustrates the meticulous care Cristofori took to lay out his instruments.
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During Dolmetsch's time at Chickering, he resided in a house in Cambridge, Massachusetts, partially of his own design, with the aid of architects Luquer and Godfrey. It was through Dolmetsch's work in Cambridge that a wealthy benefactress, Miss Belle Skinner, was able to restore a number of rare instruments, including a spinet owned by Marie Antoinette, which today comprise the founding collection of Yale's Collection of Musical Instruments. He went on to establish an instrument- making workshop in Haslemere, Surrey, and proceeded to build copies of almost every kind of instrument dating from the 15th to 18th centuries, including viols, lutes, recorders and a range of keyboard instruments. His 1915 book The Interpretation of the Music of the XVIIth and XVIIIth Centuries was a milestone in the development of 'authentic performances' of early music.
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The effect varies depending on the speed of the rotors, which can be toggled between fast (tremolo) and slow (chorale) using a console half- moon or pedal switch, with the most distinctive effect occurring as the speaker rotation speed changes. The most popular Leslies were the 122, which accepted a balanced signal suitable for console organs, and the 147, which accepted an unbalanced signal and could be used for spinet organs with a suitable adapter. The Pro-Line series of Leslies which were made to be portable for gigging bands using solid-state amps were popular during the 1970s. A "half-moon"-shaped switch for changing the speed of a Leslie speaker Leslie initially tried to sell his invention to Hammond, but Laurens Hammond was unimpressed and declined to purchase it.
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However, by 1573—after the Spanish established a trading base in Manila—the Portuguese intermediary trade was trumped by the prime source of incoming silver to China from the Spanish Americas.Spence, 20.Brook, 205. Although it is unknown just how much silver flowed from the Philippines to China, it is known that the main port for the Mexican silver trade—Acapulco—shipped between 150,000 and 345,000 kg (4 to 9 million taels) of silver annually from 1597 to 1602. Map of East Asia by the Italian Jesuit Matteo Ricci in 1602; Ricci (1552–1610) was the first European allowed into the Forbidden City, taught the Chinese how to construct and play the spinet, translated Chinese texts into Latin and vice versa, and worked closely with his Chinese associate Xu Guangqi (1562–1633) on mathematical work.
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After leaving the Metropolitan Museum, Pollens formed Violin Advisor, LLC, a consulting firm that authenticates and evaluates fine violins."The Talk of the Town," The New Yorker, November 24, 2008 In addition to his work there, Pollens restores stringed and early keyboard instruments for private collectors and museums (including an early New York piano for the Merchant's House Museum, an English bentside spinet for the Van Cortland House, and a Viennese fortepiano for the Morris-Jumel Mansion). He has done keyboard restoration and recording preparation work for Leonard Bernstein, Paul Badura-Skoda, John Browning, Mieczyslaw Horszowski, Byron Janis, Igor Kipnis, and many others. Among the more unusual instruments that he has restored are an accordion once owned by Alice "In Wonderland" P. Liddell and a tambourine painted by Toulouse-Lautrec.
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These limitations, combined with the shortened manuals, make the spinet organ all but useless for performing or practicing classical organ music; but at the same time, it allows the novice home organist to explore the challenge and flexibility of simultaneously playing three keyboards (two hands and one foot). The expression pedal is located to the right and either partly or fully recessed within the kickboard, thus conveniently reachable only with the right foot. This arrangement spawned a style of casual organist who would naturally rest the right foot on the expression pedal the entire time, unlike classically trained organists or performers on the earlier Hammonds. This position, in turn, instinctively encouraged pumping of the expression pedal while playing, especially if already accustomed to using a piano's sustain pedal to shape the music.
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The 1979 Korg CX-3 has 9 drawbars, a volume knob, an overdrive knob, two percussion buttons (4' and 2 2/3' percussive sound), percussion volume, percussion decay knob, key click knob, tone control knobs (bass and treble), tuning knob, three presets (jazz, octaves, full organ), rotary speaker emulator button, slow-fast button for rotary speaker, effects send and return, rotary speaker control jack (slow-fast), high level output for PA system, low level output jack for guitar amplifier. The instrument struggled to compete with digital synthesizers in the 1980s, particularly the Yamaha DX7, and sales fell. Production eventually ceased due to the Siemens SM304 chip used in the instruments becoming obsolete. By the end of the 1990s, instruments were being sold second-hand for a similar amount as spinet Hammond organs such as the L100 or M100.
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Allan Ramsay, poet and librettist, painted in 1722 by William Aikman In the eighteenth century the increasing availability of instruments such as the harpsichord, spinet and later the piano, and cheap print meant that works created for opera and the theatre were often published for private performance, with Thomas Arne's (1710–78) song "Rule Britannia" (1740) probably the best-known.N. L. York, Turning the world upside down: the War of American Independence and the problem of Empire (Greenwood Publishing Group, 2003), pp. 39–40. From the 1730s elegant concert halls began to be built across the country and attendance rivalled that of the theatre, facilitating visits by figures such as Haydn, J. C. Bach and the young Mozart.G. Newman and L. E. Brown, eds, Britain in the Hanoverian age, 1714–1837: an Encyclopedia (Taylor & Francis, 1997), pp. 474–7.
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This harpsichord is the work of two celebrated makers: originally constructed by Andreas Ruckers in Antwerp (1646), it was later remodeled and expanded by Pascal Taskin in Paris (1780). Existing virginals made by the Ruckers family are rectangular (one is six-sided) with the keyboard positioned either to the left (spinet) or right (muselar) of centre and a single set of strings running parallel to the long side. Spinetten had their plucking point near the end of the string, while muselaars had a plucking point close to the middle of the string; the difference in sound between the two is easily audible. The pitch of the instrument varied according to its size; the largest sounded at the standard pitch of the time, something like a'=415 Hz, while smaller virginals were pitched a tone, 4th, 5th, 8ve or a 9th higher.
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Chordovox CDX-0652 with Moog synthesizer on upper manual, manufactured by Thomas Organ (1976) Cry Baby (1970), also distributed under Vox brand The 1960s had the Thomas Organ Company at the height of its popularity. The company became the importer of the English-made Vox combo, the electronics of which would turn up in Thomas models. Thomas also took over manufacturing rights of the Moog synthesizer and enjoyed heavy celebrity endorsement from the likes of Lawrence Welk, whose organist Bob Ralston both played a Thomas on The Lawrence Welk Show and on tour at organ and piano shops to demonstrate the greatly improved tonal quality of the new models, and Lucille Ball, who featured a Thomas on at least one episode of The Lucy Show. Welk had a high- end model named after him in 1968, the aforementioned Lawrence Welk spinet model.
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Balcony at Fountains Hall The Hall has several reported hauntings. Years ago, when the best route into the main area of Fountains Hall was through a side entrance, visitors would report the sensation of an invisible figure running at them as they walked along the corridor and brushing past them as they walked through to the main part of the house. The Great Hall at Fountains Hall has the sound of musicians rehearsing a piece of music - the sound of a spinet and wind instruments are heard through the walls together with a woman's voice going through the same musical phrase several times and indistinctly, yet as soon as the door to the Great Hall is opened the music stops. The bedroom adjoining a former staff flat on the first floor is haunted by a "shining golden lady" in eighteenth century dress.
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Because the G-101 was manufactured by Lowrey, its electronics - and thus, its voicings - are similar to Lowrey's own T-1 and T-2 models (all of which use the same generator boards as the Lowrey TLO ["Holiday"] spinet models); the G-101 is not, however, identical and does contain several additional distinctive features. The "Repeat" feature sounded similar to tremolo, but used a re-triggering circuit on the percussion board instead; the knob could be used to control its off/on and speed rate. This feature often faded in functionality because it used a "photo-cell" which contained a neon bulb that could dim over time, but this is fixable by locating and installing an appropriate replacement part. The "Glide" effect pitched the notes flat by a half-step when actuated by the side-lever on the expression pedal when the "Glide" tab was selected to "Normal".
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The painting demonstrates the ability and expressive force of the painter, and the preference for an expressive physiognomy, typical of cinquecento painting in Lombardy. The attention to psychological expression illustrated here is also present in may other paintings by Sofonisba Anguissola; in the Chess Game of 1555, and her in Self Portrait at the Spinet, the painter showed female ability in playing chess or a musical instrument as an essential part of a young noble woman's education.. The Portrait of Elena Anguissola was in the collection of the Earl of Yaborough, remaining there until 1936, when it was acquired by the museum in Southampton. According to Rossana Sacchi it was at one time attributed to Titian. Only later was it recognised as a work of Sofonisba Anguissola and as of a portrait of her sister Elena..For a biography of Elena Anguissola see The portrait of the religious woman is done on a dark background.
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The spinettone was Cristofori's second effort to fulfill this requirement, the first one having been his (less successful) oval spinet. Besides being smaller than a regular harpsichord, the spinettone had another advantage, pointed out by Kottick: owing to the diagonal geometry of the strings, the player could be seated more or less facing the performers on stage, while the sound was projected in the direction of the audience. The great length of the spinettone was an advantage in the deep bass; as harpsichord scholar Grant O'Brien noted, "the bass strings are very long with very little bass string-scaling foreshortening" — in other words, their low pitch was achieved almost optimally, through length, rather than having to resort as in many instruments to lower tension or greater thickness. Kottick suggests that the instrument may have been designed to have a powerful bass because it was substituting for the theorbo, a plucked bass instrument, in performances.
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